Born 1981, Israel
Keren Zaltz creates her artwork using existing photographic and cinematic materials as a visual lexicon of sorts. She borrows images from familiar moments in the history of photography and cinema, from popular culture or from personal and private photo albums that then function as raw materials from which she creates her photographic work.
One of the issues she has been investigating is the representation of time in still-photography. More specifically, she questions visual mechanisms that allow for capturing movement and the way in which we experience it in the one resulting single image.
Her studio practice consists of a scanner, various software for image-processing and video editing. In it, the various raw materials she borrows from multiple sources undergo a process of digital manipulation with the intent to conceal, disrupt and disguise certain elements in them, thereby disturbing their original meanings and offering new ones instead. The image that is created by mechanical means allows her to see well beyond the realistic qualities of it; it talks to a non-linear idea of time, yet at the same time, it reveals a present that is both spatial and simultaneous.